The origins in my art is narrative and my images with familiar signifiers embodieseverything that is unique, diverse, and “creolized” in the manner of storytelling.Undoubtedly, I am a storyteller signifying the human condition in the old South,most importantly, in a post-Katrina era. I paint about my environment around me.My works are discoveries and a creative process from the ‘autobiography be-coming the iconography’ and in search of seeing the image as a new invention orarchetype. Within my vernacular I want to produce a distinct language that hasliterature, poetic or narrative in content. For the most part, in my style of work Iam a surrealist at heart.

​Eventually, in 2010 my art changed drastically. The concept was to embrace my​southern heritage and my roots. I was observing and studying art of African American quiltsof the South, Faith Ringgold’s quilt paintings and the later works of Robert Gwathmey,in which all aesthetically influenced my current art. By the use of fabrics or textile patternsand flags in my background each choice has to relate to a specific theme or topic of a particularsubject matter. Interestingly, this has created a tapestry of images and narra-tives that most recently in my art - I have discovered why I use textile patternsand flags in my paintings. In the Mande and A’kan regions of the Kongo (inWest Africa) men uses or dominates the textile/fabric cloth materials (i.e., quilts,cloths and pattern traditions) but, here in the U.S. there was a “gender leap”,* inwhich African American women dominates the usage of textile fabrics, inparticularly (quilts) in the South. Therefore, I use pattern, in my backgroundas a means to connect with my roots and heritage. Indeed, the connection isfar beyond the South. Ultimately, I am doing something “Ancestral”.

Accordingly, another major inspiration of my works come from my Father; his real storiesin folkloric manner has been a vital source of my new artworks. As a result,there is both a message in my art that can be “disturbing” to the viewer but yetallows invitation through my illustrative/ animated approach in my drawings andpaintings. Furthermore, this is my focus, local sub-cultures and folk-cultures inmy environment which has developed into an investigation of the southernregion. My paintings of Southern culture through the use of traditional motifsand post-modern language in realm of Afro-American narratives - “signifying”,along with social street art has created an aesthetic that is both current and yetaware of its historical past.